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The more I think about reproduced sound the more disassociated I find myself with the mainstream audio people. Really, I do not share may of their objective and what in mass audio hysteria is considered essential and prominent does not impress me, furthermore it is very frequency creates a reaction of revolution.

After writing the article above I was thinking if any explanations exist why the high quietly recordings do not impress me. Partially I expressed it in the end of the article about the Bruckner Ninth:

http://www.goodsoundclub.com/TreeItem.aspx?postID=2290

but there is more to it.

I know and own everything that the audio people consider impressive and very-very well recorded. However even if it is very well performed, superbly recorded and pressed then I still find if boring. I feel music should not be well ILLUSTRATED but rather Music should be IMPLIED. That is why I do not appreciate when sound acts as a very high resolution painting with superb details, painted by a microscopic brash by a very skilled painter. I would rather prefer a painter have a lot of attitude and paint his INTENTIONS with a very large brash, setting his/her references to own objectives. As soon this “large brash painter” begins to enter the world of sonic micro management then I loose my own reference to the “super task “ (courtesy to Stanislavsky) and my awareness begin instead of the "active listening" to participate in the “artificially entertained boredom”

So, what would manifest “my ridicules sound” and witch sound I consider an absolute reference in trims of quality sound reproduction? To surprise many people I would state that the absolute best sound in high-end I consider a Sound in a car coming form a very primitive stock playback system, playing recordings from 1940s.

The second part of 1940s is my absolutely the best recording time and the Sound that was available at that time from my point of view is so much superior then all of the Reference Recordings, Mercurys,  Special RCAs or Unicorns that it is self-explainable why I find many high-end recordings superbly boring.

What I play in my listening room  when I have no “gests”, when  I would like to hear the Real Sound and when I would like to starch the capacity of high-end sound redaction?. I play Boston Symphony recordings from 1945 to 1949. Could anything remotely top that “Iceland of Dead” from 10 April 1945? I play Falstaff Symphonic Study by Elgar and London Symphony from 1931.  I do not try to strike the readers with some kind of “strangeness” but I do find THAT sound really more meaningful, richer and more musical then many so-called high-resolution recording of the latest orchestra.

I'm very much NOT the person who believes in devolution of performing art. I'm familiar and own hundreds or perhaps  thousands  of phenomenal performances of the fairly contemporary artists. All I am taking about Sound Reproductions and I do feel that with all contemporary gismos and contemporary evolved options we did lost something in high-end audio Sound…..

Rgs,
Romy the caT

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